one " ems nfs oi Abts. cra Ame Fag Ge ahr do abs oh) annecra Fo Eosuss bos. «Smit GB AMGLet's look at the bass line. Inthe first three bars, we have a walking bass line that should sound familiar, going from C down to E then ‘moving up in half-steps to G, We want to use recognizable phrases from the vast pool of jazz and blues vocabulary to ensure that it sounds "jazzy." The bass lines in Example 1.1 are meant to create, in tandem with the syncopated upper structure of two- and three-note chords, a moving "carpet" of rhythm and harmony. We can also track chord movement using Roman numerals to name the chords as they function within the key signature, and Arabic ‘numerals to show intervals within chords or between melody notes. Starting with C as I, we can spell out the progression as 17 for 2 beats, 17/3 for 2 beats, IV7 for two beats, #1Vdim7 for 2 beats, and so on. Example 1.2 shows the progression of Example 1.1 using this system. The Arabie numeral under the Roman numeral names the interval used as the bass note; in other words, in bar 10 the #TV/3 means an F# major chord (the #1V chord) over an A# bass note (the 3 of F#). I suggest you lear this naming system because it helps when you ‘transpose progressions to other keys or when you need to tell another player, "Play a Hl-V- in A," of "Take that II-VI-I-V/3 progression up a whole-step."